DJI Osmo Pocket 4P Revealed at Cannes, Boasts Dual Sensor Design

DJI chose the Cannes Film Festival stage to show off its latest pocket camera, the Osmo Pocket 4P, and the move makes perfect sense for a device aimed straight at filmmakers who want serious tools in a compact package. This model builds on the Pocket series tradition of three-axis stabilization in something small enough to slip into a jacket pocket, yet it steps up with two separate lenses working together.

The main view is covered by one lens, which is equipped with a one-inch sensor that can capture both light and detail. The second lens hangs right next to it, a 70-millimeter telephoto with some significant optical zoom; three times is no joke. Switching between them or using them both together makes it simple to acquire the shot you need.

Ten-bit D-Log2 recording significantly improves color work and is a game changer. If you’re a filmmaker, you can extract tons of tonal depth and natural-looking skin tones right from the footage and grade it in post with incredible freedom, a luxury that was previously reserved for high-end cinema rigs. Low-light scenes also perform admirably, thanks to enhanced processing that reduces noise and maintains clarity even when the sun drops below the horizon. Portrait photos benefit from the way the system renders faces, as skin appears smooth and natural, while backdrop separation gives a very subtle impact without appearing forced or fake. Interviews, vlogs, and narrative pieces all benefit from the emotional appeal of people on television who appear like genuine people.

The zoom range has also been improved in some really helpful ways, as you can pull back for wide-angle images and then zoom in for intimate details, all while keeping the whole thing rock steady thanks to the three-axis gimbal. No more switching lenses mid-take or dealing with fuzzy transitions. Everything goes quite well from front to end.

Power options have also been extended. DJI has exhibited the Pocket 4P with its larger portable batteries, the Power 1000 and Power 2000, demonstrating that long takes on location need not necessitate frequent charging breaks. The compact body still fits comfortably in the hand, but it can now run for hours when combined with the appropriate attachment. Design-wise, it’s the same Pocket line as before, but with a spinning touchscreen that’s great for framing yourself, and the whole device feels quite balanced in the hand. Filmmakers have already tried it at Cannes for brief run-and-gun documentary work, and early feedback suggests it excels in fast-paced environments.

Exact video resolutions and frame rates remain under wraps for now, along with final battery figures and storage details. DJI plans to share those numbers soon, together with full pricing and exact availability windows. Early signs suggest a June rollout in most markets, though buyers in the United States may face delays due to ongoing restrictions on DJI products.
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